Made available in DSpace on 2018-08-01T23:30:13Z (GMT). No. of bitstreams: 1 tese_10958_Dissertação Marianna.pdf: 58609148 bytes, checksum: 537a8ab8d4f35eb2e7a3339d24bb8200 (MD5) Previous issue date: 2017-05-02 / Este trabalho discute a ideia da casualidade, desenvolvida pela artista Moyra Davey em textos e trabalhos fotográficos, associando-a à lógica do índice da semiótica de Charles Sanders Peirce como ela é desenvolvida pela crítica de arte Rosalind Krauss em seus textos Notas sobre o índice: Parte 1, Notas sobre o índice: Parte 2 e Marcel Duchamp ou o Campo Imaginário. Palavras-chave: Moyra Davey, fotografia, lógica do índice, Rosalind Krauss

This thesis analyzes the relationship between Joan Jonas’s 1976 videotape Good Night Good Morning and the existing historiographical discourse on video art from the 1970s. I begin with a careful analysis and historical contextualization of Rosalind Krauss’s seminal 1976 essay on video art, “Video: The Aesthetics of Narcissism.” I then compare her essay with a number of present-day interpretations of video art that are in part motivated by a departure from Krauss and identify a range of presuppositions that have persisted through the art historical discourse on video art from the mid-1970s forward. Finally, I demonstrate that the terms of this essentially medium-specific discourse are too limited to offer a satisfying analysis of Good Night Good Morning and argue that understanding Jonas’s work requires an intermedial analysis. / text

This thesis aims to reexamine the index as a sign that generates meaning in the sculptural oeuvre of contemporary British artist Antony Gormley. The artist has consistently proclaimed his work to be indexical but has never offered clarification of the term. Rather, he adheres to the definition developed in the late nineteenth century by the term's originator, Charles Sanders Peirce. This is problematic because it gives false meaning to the indexical sign in a contemporary context. By comparing Gormley's use of the term in his sculptural practice to Peirce's theories and those of art historian Rosalind Krauss, who was the first to significantly and convincingly relate the index to art, this study will attempt to provide a contemporized definition of the index. This thesis aims to offer a clarification in the meaning of Antony Gormley's sculpture and demonstrate the index's ability to offer resolution to what is contemporary about contemporary art.

[pt] A tese investiga a trajetória intelectual da crítica de arte, historiadora e professora da Columbia University, Rosalind Krauss. Dividida em cinco capítulos, a pesquisa contempla as fases históricas de seu exercício analítico, da década de 1960 aos dias atuais. Para isso, elege como ponto de partida a hipótese de seu percurso intelectual ser abordado enquanto sobreposições de correntes formalistas distintas, com especial destaque para o formalismo greenbergiano, o formalismo russo e o estruturalismo francês. Pretende-se comprovar que Krauss, mesmo em um contexto notadamente pluralista das práticas artísticas contemporâneas, jamais descarta refletir a respeito das estruturas formais que engendram as obras, isto é, de seus mediums. A obra da ensaísta é aqui considerada enquanto um prisma através do qual é possível identificar distintas vozes que circunscrevem o seu campo discursivo: a apologia histórica da arte abstrata de Clement Greenberg e Michael Fried; a geração de pensadores em torno dos periódicos estadunidenses Artforum e October; a fenomenologia de Merleau-Ponty, a filosofia analítica do segundo Wittgenstein, o estruturalismo de Roland Barthes e Jacques Lacan; e, ainda, o pós-estruturalismo de Jacques Derrida. Deseja-se, com isso, oferecer ao leitor brasileiro uma leitura crítica da obra completa de uma das principais vozes da crítica de arte contemporânea estadunidense. / [en] This thesis looks at the work of the art critic, art historian and professor of Columbia University, Rosalind Krauss. Organized in five chapters, it contemplates the historical phases of her intellectual trajectory, from the 1960s to the present day. The hypothesis that guides this work runs as follows: Krauss essays should be organized as overlapping layers of distinct formalist currents, with special emphasis on Greenbergian Formalism, Russian Formalism and French Structuralism. This research intends to demonstrate that Krauss, even in a remarkably pluralistic context of contemporary artistic practices, has never discarded reflecting on the formal structures that engender the art works, that is, their mediums. The essayist s contribution is here considered as a prism through which it is possible to identify distinct voices that circumscribe her discursive field: the historical apology of abstract art by Clement Greenberg and Michael Fried; The generation of thinkers around the American periodicals Artforum and October; Merleau-Ponty s phenomenology; later Wittgenstein s philosophy; Roland Barthes and Jacques Lacan s structuralism; And Jacques Derrida s poststructuralism as well. In short, this project offers to Brazilian readers a critical reading of the work done by one of the dominant voices of contemporary art criticism.

The following thesis is comprised of an edited interview between Andrew Meerow and an undisclosed questioner in which the two discuss Meerow’s visual thesis, a body of paintings titled “Some Examples of Displacement.” The interview addresses the production of art and value as Meerow's primary subject, a reflexive position that absorbs qualitative interpretation in either direction. In keeping with the intentions of the artwork, the interview is re-organized, censored, and collaged such that the discussion itself is addressed not as a procedure of truth, but as a performative gesture toward that pursuit.